John Roddam Spencer Stanhope

United Kingdom (18291908 ) - Artworks Wikipedia® - John Roddam Spencer Stanhope
STANHOPE John Roddam Spencer Knowledge Strangling Ignorance

Christie's /Jun 4, 2008
51,183.24 - 76,774.86
66,809.95

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Artworks in Arcadja
28

Some works of John Roddam Spencer Stanhope

Extracted between 28 works in the catalog of Arcadja
John Roddam Spencer Stanhope - Flora

John Roddam Spencer Stanhope - Flora

Original
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Gross Price
Lot number: 62
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John Roddam Spencer Stanhope (1829-1908) Flora pencil and watercolour with bodycolour, on paper 22½ x 9¾ in. (57 x 24.5 cm.) I confirm that I have read this Important Notice and agree to its terms. Anonymous sale; Christie's, London, 2 July 1904, lot 48, as 'The Birth of Eve' (24 gns to Gooden & Fox). The picture is a watercolour version of a larger oil sold in these Rooms on 7 June 1996, lot 576. The composition shows Stanhope's style at its most Italianate, owing an obvious debt to Botticelli's Birth of Venus in the Uffizi, a work that, as a resident of Bellosguardo, he would have known well. Particularly reminiscent of the famous prototype is the way Flora's auburn locks cascade over her shoulders, loosely restrained by ropes of pearls. The connection is underlined by a painting of The Birth of Venus by Stanhope himself, probably the one he showed at the Grosvenor Gallery in 1885, in which the pose of the figure adopted for Flora is repeated (illustrated in Percy Bate, The English Pre-Raphaelite Painters, 4th ed., London, 1910, between pp. 108 and 109).
John Roddam Spencer Stanhope - Flora (the Birth Of Venus)

John Roddam Spencer Stanhope - Flora (the Birth Of Venus)

Original 1885
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Gross Price
Lot number: 9
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Provenance Joseph Dixon of 1 St John's Gardens, Ladbroke Grove, London; Sold by Dixon's executors, Christie's, 18 March 1911, lot 36, as The Birth of Venus (bought 36gns 'Thorne'); Mrs Charlotte Frank, London; Sebastian de Ferranti, by whom sold Christie's, 7 June 1996, lot 576 Exhibited Probably, London, Grosvenor Gallery, 1885, no.130 as The Birth of Venus; Nottingham, Djangoly Art Gallery, University of Nottingham, Heaven on Earth, 1994, no.62 as Flora 9 John Roddam Spencer-Stanhope 1829-1908 FLORA (THE BIRTH OF VENUS) oil on panel 128.5 by 52.5cm., 50¾ by 20¾in. Estimate 100,000 - 150,000 GBP Print STRUCTURE The picture is in good condition and ready to hang. It has been cradled at the reverse. UNDER ULTRAVIOLET LIGHT There are areas of retouching to small vertical cracks in the top of the picture and a larger crack between the figure's feet. There is also another smaller repaired crack to the left of her feet. FRAME This picture is contained in a carved gilt frame (probably the original). The frame requires restoration.
John Roddam Spencer Stanhope - Tecrucifixion

John Roddam Spencer Stanhope - Tecrucifixion

Original
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Lot number: 38
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Description:
John Roddam Spencer Stanhope (1829-1908) A Design for the Reredos at Holy Trinity, Florence including: TheCrucifixion; The Annunciation; four Old Testament Prophets; andeight Angels inscribed 'Design for the Reredos/at Holy Trinity-Florence/by/R.Spencer Stanhope' (on a label attached to the backboard) andfurther inscribed 'angels..?..to be red one' (on the reverse of thebackboard) pencil, pen and brown ink and watercolour heightened with touchesof white and gold, on paper, fourteen watercolours in an elaborategilt-mahogany Gothic Revival frame by Bertini of Florence 20½ x 10 in. (52 x 25.4 cm.); and smaller; the frame 54½ x 33 7/8in. (138.5 x 85.9 cm.) overall 14 in one frame To be offered on behalf of Esher Parochial Church Council Bequeathed by the artist to his stepdaughter, Mrs Mure. Given by her in 1936 to Christ Church, Esher, Surrey, where it wasdisplayed in the Lady Chapel. Peter Trippi, John Roddam Spencer Stanhope: The Early Years of aSecond Generation Pre-Raphaelite 1858-1873, MA thesis, CourtauldInstitute, University of London, 1993, p. 101. Judy Oberhausen and Nic Peeters, 'Rediscovering a Pre-RaphaeliteMasterpiece: A Spencer Stanhope altarpiece', The British ArtJournal, Vol. VIII, no. 1, 2007, pp. 68-72, illustrated pls. 3, 4,6, 7, 10, 11. London, Carfax Gallery, Pictures and drawings by the late R.Spencer Stanhope, 1909, no. 17. Recently on loan to the Treasury at Guildford Cathedral. This is an elaborate study for a polyptych that Stanhope paintedfor Holy Trinity Church, in Via Micheli, Florence, in the 1890s. Sohighly finished is it, including having an ornate Gothic Revivalframe similar to the one on the ultimate work, that it is virtuallyan altarpiece in itself. Indeed it was used as such when it waspresented by the artist's stepdaughter to Christ Church, Esher,Surrey, in 1936. Of aristocratic lineage (his mother was the youngest daughter ofThomas Coke, Earl of Leicester, the greatest agricultural reformerof his time), Stanhope suffered from chronic ill health, and thisdetermined where he spent his adult life. After several moves insearch of the right climate, he bought the Villa Nuti, atBellosguardo outside Florence in 1873, settling there in 1880 andremaining until his death twenty-eight years later. Burne-Jones,who had known him since they had worked side by side on theill-fated Oxford Union murals in 1857-8, and who himself profoundlyinfluenced his style, lamented the implications of thisself-imposed exile. 'It was a great pity that he ever sawBotticelli's (work)', he told his assistant T.M. Rooke in 1896.'His absence from London has removed him...from his contemporariesand their criticism, and he's got to think more and moreexclusively of old pictures to the extent that he'll almost foundhis own pictures on them and give up his individuality' (Mary Lago(ed.), Burne-Jones Talking, London, 1981, pp. 77-8). Yet Stanhoperemains a fascinating phenomenon, a second-generationPre-Raphaelite whose long residence in Florence and day-to-dayexposure to the old masters profoundly influenced his later styleand helped to give it its characteristic flavour. Stanhope's involvement in the construction and furnishing of HolyTrinity Church represents the climax of his long collaboration withGeorge Frederick Bodley (1827-1907), the church's architect. Theyhad worked together earlier on the church of StMartin's-on-the-Hill, Scarborough (1862), the Chapel at MarlboroughCollege (1875-86), the parish church at Cawthorne, Yorkshire(1875-80), and the English church, St Mark's, in Florence (1892-3).At Holy Trinity Stanhope's commitment included serving asvice-chairman of the building fund committee and selling one of hisown most prized possessions, a Madonna and Child attributed toBotticelli, to pay for the church's tower. But his greatest contribution was the execution of a series ofaltarpieces. The first, in which the Resurrection was representedin terms of four panels (Oberhausen and Peeters, pl. 1), dated from1892 and was destined for the Memorial Chapel. The second, whichfollowed four years later, comprised no fewer than fourteen panelsand stood on the high altar. A third, symbolising the ten plaguesof Egypt, was being planned at the time of Stanhope's death in1908. Alas, all three schemes were fated. The two completed altarpieceswere removed and dismantled when the church was taken over by theWaldensians, a Calvanist sect, some forty years ago. The fourpanels of the Memorial Chapel altarpiece have re-appeared but theframe is missing, while the high altar polyptych remains completelyuntraced. As for the projected 'plagues of Egypt' altarpiece, thewatercolour studies that were all Stanhope achieved before hisdeath were destroyed by fire in 1991. This makes the present painting, the highly-finished sketch for themain high altar work, all the more significant. The altarpieceitself was in tempera, a favourite medium with Stanhope, who helpedto found the Society of Painters in Tempera in 1901, whereas thesketch is in watercolour. Otherwise, as is clear from an oldphotograph of the finished work, the difference is only one ofscale. Like the altarpiece, the sketch is in an ornate GothicRevival gilt-mahogany frame, made by the Florentine firm of Bertiniwhich Stanhope often patronised. The iconography, too, is the same.The altarpiece is divided into five bays of varying height andwidth. In the central bay, the tallest and widest, are two subjectsof supreme Christian significance, the Annunciation below and theCrucifixion above. To either side of these compositions are foursmall panels of music-making angels, while beyond these again arefour figures of Old Testament prophets - Jeremiah, Ezekiel, Elijahand Isaiah, each holding a scroll inscribed with an appropriatetext. The Renaissance sources for the altarpiece are discussed at lengthby Oberhausen and Peeters in their article. Fra Angelico, Pierodella Francesca and Botticelli are all seen as influential, bearingout Burne-Jones's comment about Stanhope's dependence on these andother masters. But the altarpiece is certainly no pastiche. Verymuch of its period and milieu, it could only be by Stanhope, havingall the mannerisms and quirks of style that make him instantlyrecognisable. Above all, it shows his astonishing sense of colour.Glowing with rich reds, greens, blues and refulgent gold, itvividly illustrates another of Burne-Jones's comments to Rooke,that Stanhope's colour was 'beyond any the finest inEurope'.
John Roddam Spencer Stanhope - Knowledge Strangling Ignorance

John Roddam Spencer Stanhope - Knowledge Strangling Ignorance

Original
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Lot number: 48
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John Roddam Spencer Stanhope (1829-1908) Knowledge strangling Ignorance signed and inscribed 'Knowledge Strangling/-Ignorance-by/R. SpencerStanhope/-Florence-' (on the artist's label attached to thebackboard) pencil, watercolour and bodycolour with gum arabic, heightened withgold 19 7/8 x 13¾ in. (50.5 x 35 cm.)
John Roddam Spencer Stanhope - Winnowing

John Roddam Spencer Stanhope - Winnowing

Original 1873
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Lot number: 180
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John Roddam Spencer Stanhope (1829-1908)
Winnowing
Add. Notes: signed with initials (lower right) and further signed and inscribed '/by/R. Spencer Stanhope/Villa Nuti/Bellosguardo/Florence' (on the artist's label attached to backboard) pencil and watercolour with gum arabic, heightened with bodycolour, the sheet extended along the lower edge 16 x 20 in. (40.6 x 50.7 cm.)
Notes: is a fine example of Spencer Stanhope's unique style and working methods. Painted in Florence, where the artist lived from 1873 until his death, it depicts three Italian peasants separating chaff from grain. As the wheat is poured from the vessel which the central figure holds high above her head (to increase its velocity), wind passes through it and the chaff streams out sideways, leaving the golden grain to be raked in by her companions. Spencer Stanhope's first honorary tutor was G.F. Watts, who, at the instigation of their mutual friend Dr. Henry Acland, allowed him to assist his murals and accompany him to Italy (1853) and Greece (1856-7). However it was the more forcefully charismatic Rossetti, a peripheral member of Watts's Holland Park circle, and Edward Burne-Jones, who became Spencer Stanhope's first artistic collaborators when they collectively contributed to the Morte d'Arthur murals at the Oxford Union. His friendship with Burne-Jones was particularly enduring; and their work does compare, with its accordant hues and figures contoured by the smallest degree of shadow, so that they seem both rounded and oddly weightless. In 1873 Burne-Jones visited the artist at his new home, the Villa Nuti at Bellosguardo outside Florence. The move was to resolve Spencer Stanhope's mature style, in which the narrative elements of Pre-Raphaelitism are recast in an Aesthetic mould. His niece Evelyn de Morgan, and contemporaries Walter Crane and Joseph Southall, all took inspiration from Italian art - in particular that derived from Florence. The linear traditions that the city nurtured, from the elegant austerity of Fra' Angelico to the later flowering of Botticelli, shadow Spencer Stanhope's work. Spencer Stanhope took this love of Florentine art still further, by developing his mural painting. During the 1870s he carried out schemes in the Marlborough College Chapel, and later at the Anglican Church in Florence. As a natural adjunct to this he began to experiment with tempera (egg-based pigment) as an alternative to oil, and the medium gives his most ambitious works a striking unanimity (a fine example is Love and the Maiden, sold at Christie's, London for £600,000 in 1997). In 1901 Spencer Stanhope helped found the Society of Painters in Tempera and in a review of the group's 1905 exhibition, the Studio praised his 'intensely rich and mellow colouring'. Spencer Stanhope's oeuvre is particularly cohesive, as he replicated those effects achieved in tempera with watercolour and bodycolour, as in the present picture. In the distance we can see the Appenine mountains that Burne-Jones praised in his letters home. The picture is not only stylistically Italian, it is a paean to the simple life of hillside-dwellers. The stream of wheat that funnels from the tipped vessel resembles gold; and in their symbiotic grace the three peasants represent the purity and worth of their values, as perceived by the artist. An important selection of works from the De Morgan Foundation, auctioned by Christie's London on 28 November 2001, included a series of oil paintings by Spencer Stanhope that compare to this in subject and style.
Pre-lot Text: VARIOUS PROPERTIES
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